Reborn as a great painter, with a system, you can be willful

Jiang Zhe used a paintbrush to put paint on the watercolor paper, and the color quickly spread out...

He chose to experiment with color with watercolor first because he could get quick feedback on the effect.

In these works, he used the transparent quality of watercolor to create the effects of interlaced light and shadow and colorful colors, making the pictures full of dynamic vitality.

In his experiments with watercolor techniques, in addition to dry and wet painting, he created soft and varied edge effects by painting on wet paper, allowing the colors to flow and blend naturally. In addition, he also tried a variety of techniques such as covering, sparse, and scraping to enhance the expressiveness and visual impact of his works.

During the experiment, he did not just focus on the visual effect, but also designed the entire picture based on his inner feelings and imagination, rather than painting based on objective objects.

There are also exceptions in these experimental works. Because of a new feeling, he would borrow the techniques of Chinese painting and use only a few strokes to outline the image. It looks empty, but the relationship between light and shadow and space becomes clear all of a sudden, the atmosphere of the picture is vivid on paper, and the connotation is extremely rich.

This kind of creation that uses the most economical words to express rich content is not only a reproduction of the natural landscape, but also an idealized treatment and an expression of his personal emotions.

Every time he finishes a painting, he regularly observes the changes in the colors after drying and oxidation.

According to his idea, the color matching should be enriched based on the experience of predecessors, but it should not be too stimulating for the sake of visual impact, and should conform to his ideal of gentle and natural beauty. Gorgeous but not tacky, bright but not impetuous, these requirements seem a bit contradictory, but they are the contemporary aesthetic mind.

After experimenting with watercolors, he began to try combining colors in oils.

In the production of oil paint, some pigments are mixed with oil and then ground again. Every time I experiment or create, I have to make a batch of pigments. Although it is very troublesome, it is a good way to hone my patience.

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Jiang Zhe picked up some newly purchased pigment powder from the post office. This was the pigment powder Wang Zhen sent from the capital.

I had just finished the formalities when I received a call from Professor Qin.

"Jiang Zhe, where are you now? Why is the noise so loud?"

Jiang Zhe said, "Teacher, I'm at the post office. I just finished the formalities and bought some new toner."

"You grind the pigment yourself? Well, I'll go and take a look when I have time."

"Great, I need your advice."

"Jiang Zhe, I have good news for you.

The school has communicated with the association.

Because many of our teachers are also in the association, they are willing to coordinate. Now, an opinion has been formed, what do you think of it? "

Jiang Zhe felt that no matter what the outcome of this matter was, the process of handling it made him feel comfortable. No matter what he did, he would inform him in advance.

He recalled some of his experiences in his previous life. Whether he was in school or at work, he would be assigned any tasks directly without caring about his own wishes.

This incident made him realize once again the role of status and strength.

"The association's opinion is to give you an honorary director position."

Jiang Zhe said: "I'm too young, will this be too conspicuous?"

"Don't worry, the association will help you. Show your grades, and no one will have any objections. It's because you haven't graduated yet, otherwise, you could be honorary president.

With this example, I estimate that the Provincial Artists Association will soon give you an honorary position."

Jiang Zhe felt that this result was already pretty good, as he didn't have to do anything. He was just a figurehead, neither getting paid nor doing anything.

Just as Professor Qin said, the Provincial Artists Association soon contacted Jiang Zhe and was preparing to give him the title of honorary director.

After hearing this, Wang Zhen agreed with this matter very much and asked Binhai Gallery to prepare a business card for Jiang Zhe.

Jiang Zhe found that after he got the title, his honor points accumulated faster, which made him less disgusted with the title.

On Sunday morning, Jiang Zhe and Professor Qin, the school's department head, waited for a car to arrive at the gate of the villa.

Today, the top leaders of the association are coming to visit his villa. The department head and Professor Qin are here to help him hold the scene. The vehicle enters the courtyard under the guidance of Jiang Zhe.

The president, vice president and Gu Qian got out of the car.

The two sides exchanged greetings and then sat down in the living room.

Jiang Zhe specially borrowed two domestic service staff from Sister Liu to take care of the guests.

A few people drank tea and chatted, first finalizing the honorary director issue, and then talking about the tribute event.

The president wanted to visit Jiang Zhe's studio and made a tactful suggestion. Jiang Zhe also took out a work and participated in the event.

Jiang Zhe was well prepared and led a few people into the studio.

The studio was filled with works of art, which shocked everyone.

Professor Qin and the department head have been to the studio. The last time they came, it seemed a little empty, but now it is filled with works of art.

Everyone began to browse and view the works.

These works include sketches, watercolors and oil paintings.

The works that give people the greatest shock are still the large oil paintings.

"…oil painting has strong expressive power, and the air and light are rich in texture on the canvas…"

"Jiang Zhe's expression style is sincere and plain, and can mobilize the emotions of the audience." Several people in the association have dealt with professionals a lot and know how to evaluate works.

Jiang Zhe agreed to submit a work for the exhibition.

Several members of the association had different opinions. Some suggested using portraits, while others suggested using landscapes.

The department head and Professor Qin were also there to give their opinions.

"…capturing the interest of nature and the beauty of the city, and expressing them with subjective imagination, giving them emotions, landscape paintings can also express the development of the times. I remember that one of Jiang Zhe's works on display at the venue was a landscape painting."

Jiang Zhe nodded.

The person who proposed to exhibit landscape paintings pointed to an experimental oil painting just completed by Jiang Zhe and said: "This painting is bold and dynamic. It uses brilliant colors to express dazzling light, weakens some of the outlines of the object, blends the skylight and water color into one, and piles up the pigments in thick places and dyes transparently in thin places, giving full play to the expressive power of the material language of oil painting, which is both real and virtual. It makes the picture full of power and presents a grand and smart visual image."

The person who suggested using portraits for the exhibition said: "I think group portraits are better. They are dramatic and exaggerated, have a strong sense of the times, and have romantic aesthetic qualities.

The combination of characters and urban background makes people feel the loftiness, grandeur and magnificence of the times.

This kind of main theme work should become the mainstream of social art. It should be the same in other countries.

For example, I heard that the Hudson River School in the United States has influenced American aesthetics.”

Jiang Zhe felt that the man's point of view was somewhat biased, but he did not refute it.

Professor Qin and the department head helped to smooth things over, and ultimately an oil painting depicting a construction site was selected for the exhibition.

This painting is one of Jiang Zhe's experimental works.

He had to make major changes to his initial series of construction site paintings, so he painted several experimental works.

He agreed to include such experimental works in the exhibition because he hoped to hear some meaningful opinions.

Both parties were happy.

(End of this chapter)